FACULTY OF MUSIC

Rachmaninoff - Slavic Chants Music by

Steven Fox, conductor Christopher Bagan and Daniel Taylor, directors

The Clarion Choir with Mikki Sodergren, alto soloist John Ramseyer, tenor soloist and University of Toronto Schola Cantorum and Members of the Choir of the Theatre of Early Music

Friday, February 28, 2020 at 7:30 pm St. Anne’s Anglican Church, 270 Gladstone Avenue

The Historical Performance concerts are made possible in part by a generous gift from Ethel Harris.

We wish to acknowledge this land on which the University of Toronto operates. For thousands of years it has been the traditional land of the Huron-Wendat, the Seneca, and most recently, the Mississaugas of the Credit First Nation. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work on this land. ARTISTS Steven Fox, conductor Christopher Bagan and Daniel Taylor, directors Mikki Sodergren, alto soloist John Ramseyer, tenor soloist

UNIVERSITY OF Elisabeth Ritthaler Bass TORONTO Karis Tees Tim Krol SCHOLA CANTORUM Neil Netherly Soprano Tenor Peter Walker Frances Beg Nathan Gritter Saige Carlson Arieh Sacke MEMBERS OF THE Anna-Julia David Thomas CHOIR OF THE Alexandra Delle Nick Veltmeyer THEATRE OF EARLY Donne David Walsh MUSIC Maria Deng Soprano Jane Fingler Bass Rebecca Genge Rebecca Genge Wesley Hui Clarisse Tonigussi Loren Graziano Matthew Tissi Sinead White Salena Harriman Roanna Kitchen THE CLARION CHOIR Alto Clara Krause Soprano Veronika Camille Labonte Jessica Beebe Anissimova Grace Liang Madeline Healey Valeria Michaela Linda Jones Kondrashov O’Connor Nacole Palmer Karis Tees Kayla Ruiz Molly Quinn Erica Simone Nola Richardson Tenor Amanda Singh Michael Dodge Emily Zixin Wang Alto Valdis Jevtejevs Sierra Ward-Bond Hannah Baslee Christopher Mahon Jennifer Wilson Wendy Gilles Nick Veltmeyer Kate Maroney Alto Mikki Sodergren Bass James Dyck Léo McKenna Yelena Gavrilova Tenor William Kraushaar Peter Koniers Brian Giebler Matthew Li Nikki Puchkov Nick Gabrieli Ortega Ryan McDonald Karageorgiou Danielle Nicholson Oliver Mercer John Ramseyer PROGRAM NOTES The All-Night or Vespers both the silence before Creation is widely regarded as Sergei and eternal rest. There follows a Rachmaninoff’s greatest choral of , readings, masterpiece. It is a lush and chants and prayers, providing transcendent setting of traditional a narrative of the reconciliation texts from the canonical of between God and man through the . the redeeming sacrifice of Christ. Written for choir with alto and tenor Music, of course, is a powerful soloists (here, Mikki Sodergren vehicle for the sacred texts. Not and John Ramseyer), its surprisingly, the austere, ancient magnificent, soaring movements foundational chants underscore the derive from ancient Kievan and primacy of the words, and even in Byzantine chants, many of which Rachmaninoff’s moving and are presented in this concert expressive scoring, the words still together with Rachmaninoff’s remain paramount. Rachmaninoff’s settings. Traditionally, an all-night setting of the All-Night Vigil vigil is celebrated on the eve of (Vsenoshchnoye bdeniye, Op. 37) the main feasts of the Orthodox was written in January and February Church. Originally beginning at 1915 in the middle of World War 6:00 in the evening and concluding I, when he was 41. During this at 9:00 the following morning, it period, Rachmaninoff was traveling comprises three separate services: throughout Russia with Serge Great Vespers, (at midnight), Koussevitsky, giving concerts in aid and the First or (in the of the war against Germany. He had morning). By the end of the 19th already completed his Liturgy of St. century, the service had been John Chrysostom in 1910 (following reduced to a mere three hours. Tchaikovsky’s example of 1879) Concert performances are further but the Vigil is more elaborate and shortened by the omission of the intense in its expression. He used traditional prayers. authentic Znamenny chant in seven movements; Greek chants in two; The vigil uses the beauty of the and in the remaining movements he setting sun as an analogy to inspire constructed what he described as a contemplation of the spiritual light of counterfeit of the original. Christ, the light of the coming day, and the eternal light of the heavenly The piece is dedicated to the kingdom, as well as the particulars scholar Stephan Vassilovich of the approaching feast day. Great Smolensky (1849-1909), who had Vespers begins in silence, with a introduced Rachmaninoff to the cruciform censing of the ; one repertoire of the church when he of the most profound moments was at the Moscow Conservatory. of Orthodox liturgy, representing Yet, Rachmaninoff’s inspiration was as much politically motivated as 3. This homiletic text comes anything else; a powerful affirmation from Psalm 1, with verses sung of Russian nationalism during predominantly by middle voices, the war. The first performance on and refrains of by the March 10, 1915, was given not full choir. Beginning simply and liturgically, but in a fund-raising devoutly, it grows in strength, erupts concert by the Moscow Synodal in a Gloria of great conviction, then Choir, directed by Nicolai Danilin. recedes into reverence. It was extremely well received and had to be repeated four times that 4. The is one of season. the most ancient hymns of the Orthodox Church. The text is from “Even in my dreams I could not (141). Here, the melody have imagined that I would write is a Kiev chant using only four such a work,” Rachmaninoff told notes. The dramatic image of the the singers at the first performance. darkness approaching the setting Hearing this extraordinary piece sun is marked by the of music, not a frozen edifice of the lowest basses with more of austere musical architecture shadows collecting as higher but a vibrant and powerfully basses enter. But then the tone emotional manifestation of religious changes to shimmering candlelight experience, it is certainly possible to rising behind the tenor’s solo of understand precisely how he felt. praise, reflecting the lighting of the candles by the and Vespers . 1. The work begins with the word Amin (Amen) responding to the 5. The (Luke 2:29-32) Great , which would have is the prayer of the elderly been chanted by the priest. Then who had been told by the Holy there is a robust fourfold call to Spirit that he would not die before prayer, in six and then eight parts, seeing the Messiah. Here, against emphasizing the sovereignty of a gently rocking background, Christ. the tenor solo sings a Kiev chant expressing Simeon’s gratitude for 2. A truncated version of Psalm God’s . At the end of the 103 (104)*, in which the alto movement the basses descend, soloist sings the melody based on step by step, to a low B-flat, in Greek chant against alternating what is one of the most impressive backgrounds of tenor and bass, passages in choral music. and soprano and alto. Tender and Rachmaninoff was particularly fond deeply reverential, this psalm is of this movement and wanted it at sung as the church is censed. his funeral, but this wish was not granted because no place could be found for it in the funeral service. and the angel in verses 2 through 4, the movement ends with a 6. The last movement of the driving Gloria setting (Slava otsu Vespers section is an Ave i sinu), which Rachmaninoff later Maria. Beginning in hushed and incorporated into his Symphonic transcendent veneration, it soon Dances. begins to gain urgency and ultimately blossoms in a powerful 10. After a reading, the assertion of salvation. After this book is brought out for the people all the lights are dimmed and the to kiss. This is Rachmaninoff’s own doors to the Holy of Holies are chant, using wide contrasts of closed. register and dynamics, and praising and claiming the Christ who Matins brought salvation through His death 7. The start of Matins is a chorus and resurrection. in praise of God, preceding the reading of the Six , which 11. The is traditionally express a sense of loss and set for soprano voices to lend separation from God. This setting realism to Mary’s response to the is full of the sound of bells as the Ave Maria. However, Rachmaninoff word Slava (Glory) is reiterated. gives his Magnificat to the lowest of the basses, who quote her words 8. Called the (expressing with great effect! The text from “much mercy”), this movement Luke alternates with an . celebrates the reconciliation between God and man with 12. The Great is the texts from (136). climax of Matins, and in a true Rachmaninoff uses a znamenny all-night vigil it would coincide chant in octaves for altos and with the sunrise. Rachmaninoff’s basses, marking the music spiritoso setting begins with the znamenny to celebrate God’s steadfast mercy. chant heard in the seventh movement. Beginning with the 9. The Evlogitaria is a series of Gloria, which ends with the effect stanzas referencing the Credal of chiming bells, the movement assertion that descended proceeds into texts from Psalms to the dead, and revisiting the and the Apocrypha, changing Resurrection from the perspectives their character rhythmically and of all four . All are framed harmonically with each new between chants of the text, section. “Blessed art Thou, O Lord; teach me Thy statutes.” Presenting the 13 and 14. These two Resurrection ringing sound of angel choirs in hymns are not both sung in one verse 1, and the mournful women service: they alternate according to the prevailing tone of the chant sunlight bursts into the room. Its for that week. Both are based on last movement is another to znamenny chants. The first has a the Virgin, brilliantly scored and alive cold crystalline brilliance that rises with celebration. to its peak at the mention of the priceless victory given to mankind *The first number refers to the through the Resurrection. The Psalm as numbered in the Greek second is slightly longer, warmer and ; the second and richer harmonically, and set number refers to the same Psalm with infinite tenderness. as numbered in the Hebrew and Protestant Bibles. First Hour 15. The Vigil changes color Program notes by Barbara Mouk dramatically as if the morning and Louis Burkot.

BIOGRAPHIES One of the country’s leading Choir’s debut at professional vocal ensembles, the 2011 White Light Festival The Clarion Choir has performed was described by The Wall Street on some of the greatest stages Journal as ‘superb...the choristers of North America and Europe. sang with purity of tone and The group was featured on PBS’s ensemble precision.’ In 2014, the NYC-Arts program in 2014, and choir gave the premiere their debut recording, released of Passion Week by Maximilian August 2016, received a Grammy Steinberg, praised as ‘a stunning nomination for Best Choral performance’ by The New York Performance, a nomination for the Times. In October 2016, the BBC Music Magazine Choral Award Choir premiered this same work in England, and ‘5 Diapasons’ in in Moscow and St. Petersburg, Diapason in France. The Clarion where it was written in 1923, and Choir’s second album, Kastalsky’s in London. The Russian premiere, Memory Eternal, released in August made possible by the United 2018, was awarded Gramophone States Department of State, was Editor’s Choice and Editor’s Choice hailed on Russian television (Vesti in AllMusic. This recording also Rossiya 24) as ‘one of the best received a Grammy nomination examples of cooperation between for Best Choral Performance, our countries’; and the London Five Stars for Performance and performance at the Royal Academy Five Stars for Production from of Music was called ‘a beautiful BBC Music Magazine, and was UK premiere... expertly paced by named Recording of the Month the conductor Steven Fox, the on MusicWeb International. The singing was fluid and full of light and shade’ by The Times (UK). In the Program and for Juilliard Opera. He spring of 2018 The Clarion Choir, has appeared as a guest conductor together with brass players from with many renowned ensembles The Clarion Orchestra, performed such as Philharmonia Baroque their third Renaissance program as Orchestra in San Francisco, Handel part of the Metropolitan Museum and Haydn Society in Boston, of Art Met Live Arts program in Juilliard415 at Lincoln Center, the the Medieval Sculpture Hall of the Charleston Symphony Orchestra, Museum. On May 7, 2018, the the Quebec Symphony Orchestra, choir performed with Madonna at Opéra de Québec, Music of the the Met Gala in a three-song set Baroque in Chicago and the that included the world premiere Tucson Symphony Orchestra. In of her new song ‘Dark Ballet.’ In the 2019-2020 season he makes its 2018-2019 season, The Clarion his conducting debut with The Choir performed on tour in ten Rochester Philharmonic, at the cities, firstly in Kansas City and University of Toronto, and with Washington, DC, with Maestro Cappella Romana in Portland and Leonard Slatkin, and The Orchestra Seattle. His performances have of St. Luke’s in the fall, at the also taken him to some of the most University of Toronto in March, prestigious halls internationally, and with The English Concert and such as the Grand Philharmonic Maestro Harry Bicket in seven Hall and Hermitage Theater European and American capitals in St. Petersburg, Russia, the in April. The tour with the English Rachmaninoff Hall in Moscow, the Concert included Clarion’s critically Duke’s Hall of London, and the acclaimed debut on the main stage Vatican. of Carnegie Hall. He has been called ‘an esteemed Conductor Steven Fox is Artistic director’ by The New Yorker Director of The Clarion Choir and and ‘visionary’ by BBC Music The Clarion Orchestra, and is the Magazine. Of a recent Clarion newly appointed Music Director of performance, The New York Times the Cathedral Choral Society at the praised his ‘deft guidance’ and National Cathedral in Washington, wrote: ‘an inspired interpretation. DC. He founded Musica Antiqua Mr. Fox revealed the drama of St. Petersburg as Russia’s first the score with vivid dynamic period-instrument orchestra at shadings. Intonation and pacing the age of 21, and from 2008 were exemplary throughout the to 2013 he was an Associate performance.’ In 2017, Steven and Conductor at Opera. The Clarion Orchestra mounted He has also served as Assistant the organization’s first fully-staged Conductor for the production, Mozart’s Magic Opera Lindemann Young Artists Flute. The production, staged by renowned Canadian director Alain Mikki has performed Pops Gauthier, was called ‘a deft reach programs with the symphonies across two centuries’ by The of Jacksonville, Tallahassee, New York Times and ‘a delight, Savannah, and the New Jersey on all fronts’ by Opera magazine Festival Orchestra. In the spring (UK). Steven was named an of 2019, Mikki toured Europe and Associate of the Royal Academy the US with the twice-Grammy- of Music, London, in 2010 ‘for nominated Clarion Choir and significant contributions to his the English Concert, performing field in music,’ and has received Handel’s Semele under Harry GRAMMY nominations for his first Bicket. She recently made her two recordings with The Clarion Carnegie Hall debut as the female Choir: Steinberg’s Passion Week soloist in Dan Forrest’s (2016) and Kastalsky’s Memory for the Living. She has performed Eternal (2018). In May 2018, Steven the eponymous role of Carmen conducted The Clarion Choir in with Queens Opera Theatre, a performance with Madonna Aldonza/Dulcinea (Man of La at the Met Gala, including the Mancha) alongside Ron Raines world premiere of ‘Dark Ballet’. at Amarillo Opera (TX), and has He has given master classes and been in development of several clinics at The Royal Academy of new musicals, including work Music, , The for Disney Theatricals and The and , National Theatre of Great Britain. where he served for two years as Mikki has performed as the alto preparatory conductor of the Yale soloist in Handel’s Messiah with Schola Cantorum. the Johnstown Symphony (PA), the mezzo-soprano soloist in the Mezzo-soprano Mikki Sodergren’s Rachmaninoff Vespers with The musical flexibility has afforded Clarion Choir and Steven Fox, her many diverse, musical and the mezzo-soprano soloist experiences. Recently, she curated in Vivaldi’s Gloria with Pro Arte programming and performed with Chorale, and with the period baritone Michael Maliakel, and ensemble REBEL. She currently recent New York Philharmonic serves as the Artistic Director of Assistant Conductor, Joshua the American Traditions Vocal Gersen, in Tallahassee Symphony’s Competition in Savannah, Georgia, Star Crossed Lovers. The same where all styles of American music weekend, she performed as the are celebrated equally. Mikki mezzo-soprano soloist in Haydn’s Sodergren is a proud alumnus Harmoniemesse, under the baton of BUTI and Interlochen Arts of Steven Fox at the National Academy. Cathedral in Washington, D.C. Known for his “silky, warm tone,” strive to recreate the original American tenor John Ramseyer performances of musical works — is a sought-after operatic, concert, interpretations led by the energy and choral singer. Well-versed and insights of the gifted students in operatic repertoire spanning themselves — in the belief that the musical eras, roles include historical performance ideals and Bill (Dove’s Flight), Aeneas (Dido knowledge of the old world are and Aeneas), Don Ottavio (Don essential for creating music anew. Giovanni), Fenton (Sir John in The Schola Cantorum includes Love), Lysander (A Midsummer students from all levels of study Night’s Dream), Fenton (Falstaff), (bachelor in music, master in music and Chanon (Mandelbaum’s The and doctoral candidates), with Dybbuk). John has performed students representing many voice leading roles with The Bronx Opera studios in the Faculty. Canada has Company, Resonanz Opera, many university choral ensembles, LoftOpera, Apotheosis Opera, however the Schola Cantorum is Christman Opera Company, The the only large-scale group using Midwest Institute of Opera, and period instruments and historically others. This past April, he toured informed performance practices Europe and the US with Clarion to reveal the beauty of Baroque Choir and The English Concert and early repertoire. In 2012, in a concert version of Semele, the Schola Cantorum made concluding with a performance at its inaugural performance with Carnegie Hall. Most recently, he the famed Tallis Scholars. The was the tenor soloist in Handel’s ensemble also performed and Messiah with Camerata New York. toured central Canada presenting He is currently a member of the Handel’s Coronation Thomas Choir of Men and and recorded early German works Boys, where he has collaborated including Buxtehude’s Jesu meines with Baroque Incorporated and Lebens Leben. The ensemble also Orchestra of St. Luke’s. John appeared in concert touring with Ramseyer is a graduate of the Gabrieli Consort, presented Mannes School of Music and an Purcell’s Dido and Aeneas on four Encouragement Award winner of evenings to capacity audiences, the Metropolitan Opera National offered a reenactment of the Council Competition. coronation ceremony of King George II and made their debut The University of Toronto Schola at the Stratford Summer Music Cantorum aims to present Festival. The group presented the brilliant early choral and Heinrich Schütz’s three movement instrumental repertoire from across Musikalische Exequien in concert, the centuries to a new audience. accompanied by the Theatre of The group’s interpretations Early Music orchestra. Christopher Bagan is a versatile Gothenburg, Scottish National. artist, equally at home on Daniel has performed for Canadian modern and historical keyboard Prime Ministers, for the Queen of instruments. He is in high demand England, for the King and Queen as a collaborator, chamber of Sweden and for the King and musician and basso-continuo Queen of ; he recently sang specialist. He has performed with at the investiture ceremony of many of the leading baroque Her Excellency Governor General singers, instrumentalists and of Canada Julie Payette at the conductors in North America and Senate’s Red Chamber for an abroad. Christopher is particularly estimated audience of 5 million. active in the field of baroque opera, His devotion to sacred music has working as the assistant conductor been recognized by the award of at Opera Atelier and as coach and the Queen’s Jubilee Medal. Daniel répétiteur at the Canadian Opera has appeared with the Dahlai Company. In 2015-16 Christopher Lama, Salman Rushdie, Ryuiichi was the Early Keyboard instructor Sakamoto, Dame Emma Kirkby, at Case Western Reserve University Jonathan Miller, Cecilia Bartoli, and the head of Harpsichord at Joyce Didonato and Gerald Finley, the Cleveland Institute of Music. as well as actors Ralph Fiennes, He is currently on faculty at the Jeremy Irons, Malcolm McDowell University of Toronto, working and Chris Noth. Daniel Taylor with the students in the Historical was recently named Head Vocal Performance program. Consultant and Chorus Master at the Opera Atelier, and is Head A Sony Classical artist, conductor/ of Historical Performance and countertenor Daniel Taylor is Associate Professor, Early Music, sought after for his portrayals on Opera and Voice Studies, at the the opera and concert stage, on University of Toronto. CD/DVD and in film. Appearing on more than 120 recordings, his projects have been recognized by a ______Grammy as well as with the Juno, Please note that photography and Opus and ADISQ prizes. Daniel recording are strictly prohibited has appeared at Glyndebourne, during the performance. Rome Opera, Welsh National, Canadian Opera, Opera North, Kindly turn off all electronic devices in Munich and at the New York as a courtesy to the performers and Metropolitan Opera. He has joined your fellow patrons. leading orchestras including the San Francisco, Los Angeles, St. Louis, London, Lisbon, Cleveland, the New York Philharmonic,

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Anonymous Jerry and Joan Lozinski The M.H. Brigham Foundation Chris and Tracy Makris Alexandrina and Jeffrey Canto-Thaler Sue Mortimer Caryl Clark Ruth Moses Jean Patterson Edwards Michael Nairne Robert and Mary Gore Richard Phillips Ethel Harris Diana H. Reitberger William and Nona Heaslip Brent Rinaldi Foundation J. Barbara Rose Kearns Mancini Architects Inc Elizabeth Smyth Oliver Lennox-King Judith Tenenbaum Janet and Charles Lin Larry Williamson William Acton and Susan Loube

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The Faculty of Music is a partner of the Bloor St. Culture Corridor bloorstculturecorridor.com Thank you for your support! The Faculty of Music gratefully Nancy E. Hardy* James E. K. Parker# acknowledges the generosity of Ethel Harris Annalee Patipatanakoon# the individuals, foundations, and The William and Nona Heaslip Steven Philcox# corporations who gave annual Foundation Richard D. Phillips gifts of $1,000 or more between Paul T. Hellyer Adrianne Pieczonka* and Laura September 1, 2018 and January 15, Dianne W. Henderson Tucker# 2020, in support of our students and Marlon Hershkop Lloyd Piszel programs. Thank you for the part you Richard and Donna Holbrook Brett A. Polegato* are playing in advancing the cause of Jo-Anne Hunt Terry Promane# music education in Canada. The K. M. Hunter Charitable Stephen Ralls and Bruce Ubukata Foundation Paul E. Read* Mark Abbott Michael and Linda Hutcheon Diana H. Reitberger William Acton and Susan Loube Jackman Foundation Jeffrey Reynolds# Clive and Barbara Allen Heather Jackson Brent Rinaldi Dominick Amato and Joan Hodges JAZZ.FM91 Rodney and Evette Roberts Raymond C. K. Ang The Norman and Margaret Jewison E. A. Robinson Anonymous (4) Charitable Foundation Shauna Rolston# and Andrew Shaw Ann H. Atkinson Prabhat Jha O.C. and Varsha Maureen E. Rudzik Neville H. Austin* Malhotra Mark Sallmen# Pamela Austin Marcia and Paul Kavanagh Chase Sanborn# Gregory James Aziz Kearns Mancini Architects Inc Annette Sanger and James Kippen John and Claudine Bailey Keith Foundation Longinia Sauro The Late Walter M. Bowen and Lisa Arthur Kennedy June Shaw Balfour Bowen The Henry White Kinnear Foundation Nora Shulman# Sonia A. Baxendale Carol D. Kirsh Helen K. Sinclair David Beach Ingeborg Koch Stephen and Jane Smith John Beckwith* and Kathleen Midori Koga# Peter N. Smith* McMorrow Vic Kurdyak David Smukler Lynn Bevan Carolyn and Robert Lake Elizabeth Smyth Bruce Blandford and Ron Atkinson Leslie and Jo Lander Joseph K. So The estate of Harald and Jean Bohne Sheila Larmer The Sound Post Harvey Botting Sherry Lee# Darrell Steele* Eliot Britton# Jim Lewis# The Stratton Trust The estate of George Brough Janet and Charles Lin Janet Stubbs* Melissa Campbell Roy and Marjorie Linden Barbara Sutherland Alexandrina and Jeffrey Canto-Thaler V. Lobodowsky Ann D. B. Sutton CHIN Radio-TV International Jerry and Joan Lozinski Françoise Sutton The estate of Ivan Chorney Gillian MacKay# Almos Tassonyi and Maureen Caryl Clark# Gordon MacNeill Simpson Terence Clarkson and Cornelis Chris and Tracy Makris Judith Tenenbaum van de Graaff Manulife Financial Richard Iorweth Thorman Earlaine Collins Ryan McClelland# Riki Turofsky* and Charles Petersen Marilyn E. Cook Robert McGavin Catherine Ukas Denny Creighton and Kris Vikmanis Donald R. McLean*# and Diane M. U of T Women’s Association The estate of Anne E. Croombs Martello Sandra K. Upjohn Neil and Susan Dobbs Douglas H. McNabney* Sheila G. Waengler Vreni and Marc Ducommun Esther McNeil James Warren Jean Patterson Edwards Ulrich Menzefricke Mary-Margaret Webb Foundation Robin Elliott*# Merriam School of Music Melanie Whitehead Brigid Elson Irene R. Miller Jack Whiteside Angela Esterhammer Modica Music Ltd Larry Williamson David Fallis*# Kit Moore Nora Wilson Michael F. Filosa William and Sally Morris Thomas A. Wilson Alison A. Fisher Sue Mortimer Women’s Art Association of Canada Gladys and Lloyd Fogler Mike Murley# Women’s Musical Club of Toronto Gordon Foote# Paul and Nancy Nickle Foundation Ann Kadrnka Gordon Nimeck Lydia Wong*# Anne Geddes Reg Nimeck Marina Yoshida George Gibbons Phillip Nimmons# Micki Zafer Rachel Gottesman Elie Nour Paul Zafer* The estate of Morton Greenberg Cristina Oke Dawn Haberman Naomi Oliphant* *Faculty of Music alumnus A Wallace Halladay*# Ken Page Trust #Faculty of Music faculty/staff

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